Hageman^s Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The Iiv.Y-'&rtance of an effective make-up is becoming more appaf^ 
ent to the professional actor every year, but hitherto there hi?* v>o"» 
no book on the subject describing the modern methods and at th« 
same time covering- all branches of the art. This want has no^ 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and styge-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. 1 he book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an* 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
any other. It is absolutely indispensable to every ambitious actor, 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box, Grease-Paints, Mirrors, Fact 
Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine^ 
Blue for the Eyelids, Prilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps^, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before Making up; the Straight Makea 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, LipSg 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up, 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up^ 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, iViiddle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healtiiy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef^- 
fects, Wigs. Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, th® 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Bearcfs, Moustaches, and Eyebrows Choosing 
a Wig, Pc;wdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, WooU 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers, SouthernerSt 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch SettlerSr 
Englishmen, Scotchmen, Irishmen,, Frenchmen, Italians, Spaniards^ 
Portuguese, South Americans, Scandinavians, Germans, Hollanders*: 
Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Cafhrs, Abys^- 
sinians, I-Iindoos, Malays, Chinese, Japanese, Clowns and Statuary 
Hebrews, Drunkards, Lunatics, Idiots, Misei-s, Rogues. 

Address Orders to 
THE DRAMATHfC PUBLISHING COMPANY 

CFTCAGO, ILLINOIS 



ON THE PATH OF 
THE CHILD 

A MORALITY PLAY IN ONE ACT 



By 

ANNA WYNNE 



Copyright 1916 
By The Dramatic Publishing Company 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 



isplKulps^Ik; 249 



CAST OF CHARACTERS /!<\ 

Sandman Fate Patience Folly Laziness 

Child Courage Greedy Vanity Love 



PEOPEETY LIST. 
Vine with flower on the end of it for telephone. 
A tiny thorn. 

A mile stone made of dark tissue paper over a frame. 
Sand for the Sandman. Sack. 
Flowers for the Child. 
Small knife for Fate. 
Bowl and dessert spoon for Greedy. 
Bottle and spoon for Courage. 
Small mirror on chain for Vanity. 



LIGHT PLOT. 

At Eise: Lights dimmed. 

Lights up at singing of Child off. 
At Entrance of Sandman: Lights dimmed. 

Lights up for cast to bow. 

plays forty minutes. 



COSTUMES. 

Sandman: Can be played either by a boy or a tall girl. Sand 
colored cloak and hood, with the hood well over the face. Carries 
a bag slung over shoulder. 

The Child: A girl, eight to twelve. A short skirt of green 
with white bodice and iDright sash. Her flowing hair is bound by 
a red kerchief. Strings of 'different colored beads. Worn tan 
shoes and stockings. 

Fate: A girl slightly taller than the child. A white robe with 
sandalled feet. Over her flowing hair a variegated colored veil. 
Her gown is trimmed with flowers. 

Courage: A boy or tall girl. Eomantic velvet costume with 
plumed hat. No weapons. 

Patience: Grey Puritan costume with white cap. 

Greedy: Small chubby boy or girl. Dull brown bloomer cos- 
tume. Figure padded to look rotund. 

Folly: Short skirted frock, beribboned and bef rilled. 

Vanity: Can either wear the latest style in an exaggeration, 
or a beautiful but f autistic robe of blue over gold. Many jewels. 
Carries a mirror attached to a chain. 

Laziness: A boy or tall girl. A crumpled yellow-green cos- 
tume made short in arms and legs, so he looks asttjough he were 
fast out-growing his clothes. He is taller than ^me([j or Vanity. 

Love: A girl. Eich red robe w\mhr^^,^^^^^te lily worn 
at her breast. fp (^ \^^^ 

DEC 26 1916 ^'^'^ ^"39 



-w^ ( 



ON THE PATH OF THE CHILD 



Scene. A path in Dreamland. Can he played before 
a curtain or screens. A mound can he depicted hy a 
covered bench or cushions. Enter from right the Sand- 
man. He walks slowly to center as he speaks. 

Sandman. I am the Sandman, 
And the sands I throw into the eyes of the little folks, 
Come from the shores that Wisdom owns. 
Each little grain a message brings 
Straight to the soul of the child as she sleeps. 

[To audience.] 
That is the reason you're questioned so, 
That is the reason she's wise and deep. 
The sands I throw are from Wisdom's shore. 
And she learns as she sleeps, 

As she sleeps. [Turns toward left, where the Child is 
sleeping.] 
I am the Sandman, 
Oh sleeping Child, dream of the future which before you 

lies. 
Prepare for the battle, your path in life, 
As I sprinkle the sands from Wisdom's shores, 
Learn what your heart and soul must be 
To meet with the shadows out here on the road. 
Learn while you sleep, 
While you sleep. [Puts finger to his lips.] Hush! Hush! 

[He exits right. The lights grow brighter. Child is 
heard off singing. She skips in with flowers in her 
hands.] 

Child. [Joyfidly.] What a very pretty path. It 
seems familiar ! 



4 ON THE PATH OF THE CHILD 

[A faint tune is heard off and the Child dances to it, 
throwing her flowers into the air and catching them 
again. Fate enters from right and dances behind the 
Child, who does not see her.] 

Child. Someone is here. I'll catch you. You're try- 
ing to tease me ! [They dance about as before, ivhen the 
Child suddenly turns and catches hold of Fate.] Now 
I've got you. What's your name? 
. Fate. Who am I ? Guess ? 

Child. You must be my shadow, following me about 
all the time ? 

Fate. No, I'm not your shadow, for I always go be- 
fore you — but only as far as you send me. I go down 
hill or up hill, or climb the great mountain, just as you 
say. 

Child. I don't know you. Do you know me? 

Fate. Why I was introduced to you the very minute 
the doctor brought you. In fact I led him to your 
home. 

Child. You did ? 

Fate. Yes. My name is Fate. I am your Fate ! 

Child. Fate! Well, what can I do for you? 

Fate. Everything! I'd like to be healthy, happy, 
rich, famous and beautiful. And do make me kind. See 
to it for me. 

Child. [Sighs.] Such a responsibility and I just 
wanted to go through life all by myself — free ! 

Fate. No one can be free, Child! We are all like 
the little waves in a big ocean, very much alike, very 
close together and making a big world! 

Child. But I wished to be a Gypsy, because I heard 
they were free. Some of them never go to school. They 
just play outdoors all the time. 

Fate. [Smiles.] No one is really free. But see, 
here is a knife to carve straight your path. 

Child. It is a very smooth path ! 

Fate. Yes, just here. Later there may be brambles ! 

Child. I don 't mind them ; I can get rid of brambles. 



ON TEE PATH OF THE CHILD 5 

Fate. And pit-falls. See, this end of the knife is to 
dig with. 

Child. A very small knife ! [Places it in her sash.] 

Fate. When your hand grows stronger, yon will find 
a larger implement. Do you know why you came on the 
Dream Road to-night ? 

Child. To play. 

Fate. No. To choose what comrades you are to take 
here, at the beginning of your path. 

Child. Comrades ? 

Fate. Yes, Choose well, for they will be the making 
of me ! 

Child. I want to meet someone that's always laugh- 
ing and full of fun. 

Folly. [Enters, laughing and dancing.] You called 
me, my dear Gypsy ! 

[Catches her hands and swings her ahoiit.] 

Child. Oh, I am pleased to meet you. 

Folly. Of course you are. Everyone is very fond of 
me, I 'm Folly ! 

Child. Fate this is Folly ! 

Fate. [Sighs.] Wisdom was right. She said we 
would be sure to meet her the very first thing. [She 
walks a little apart.] 

Folly. Let's go asailing? [Folly and Child lock 
fingers and siving around. They dance and laugh to- 
gether, then begin whispering. Fate dances, hut with 
slovjer measure.] I know the loveliest people! They all 
move in the best set, too ! 

Child. What's set? 

Folly. Oh, you'll learn before long ! 

Child. Will I? Is it when nurse pulls one away 
from the children one would like to play with ? 

Folly. [Laughs merrily and runs right and brings 
in Greedy, who is eating from a large hoivl.] Come here, 
you darling! [To Child.] Folks would hardly believe 
you a real, human child if you didn 't know him ! ^ 

Child. Oh, hello, Greedy. 



Q ON TEE PATH OF THE CHILD 

Greedy. Greedy! My name's Greedy-Greedy. 

Child. Greedy-Greedy— Eat-AU-the-World-Up ? 

[Sticking her finger in the howl and licking it ojf.] 
Ummm ! Give me some ? 

Greedy. [Fearfully.] You'll take too much! I'll let 
you lick the spoon — maj^be ! 

Child. [Taking the spoon from him.] My turn! Oh, 
it 's good ! Dessert ! Ummm ! 

Greedy. Don't take so much ! Don 't take so much ! 

[They sit upon the mound. ChiijD takes the howl from 
Greedy and eats and eats. Greedy weeps and tries to 
take the howl aivay. Child keeps it and eats on. Greedy 
manages now and then to get a little.] 

Greedy. You're a Greedy-Greedy yourself! 

Fate. Folly, I wish you'd leave that child alone. 
See, a little thorn growing right in her path since you 
came! 

Folly. [Laughing.] I do enjoy introducing people. 
Look at them ! From here, I wouldn 't know which is 
Greedy, which is the Child ! 

Fate. [Almost in tears.] I know what's going to 
happen ! 

Greedy. You give me back my bowl ! . 

Child. [Taking a large spoonftd.] Take your old 
bowl ! 

Greedy. [Snatching the howl.] Oh-h-h! You ate 
it all up ! 

Child. Serves you right — serves you — [Both hands 
clasped over her stomach.] OhAi — I-I feel so sick! 
Have you got a pain, Greedy ? 

Greedy. [Licking his fingers.] I don't get a pain. 
I'm Greedy-Greedy! 

Child. [In great pain.] Oh-h-h-h ! 

Fate. [To Folly.] Didn't I tell you I knew some- 
thing was going to happen? [To Child.] This comes 
of meeting Folly! 

Child. Where's a telephone? 

Folly. [To Greedy.] You dear, little thing. All 
gone ! Run and get some more. 



ON TEE FATE OF TEE CEILD 7 

Greedy. Yes, I'm going. I feel lonesome unless I'm 
eating ! 

Child. I feel better now he's gone. [TaJrVig up a 
morning glory on the end of a vine.] Thank goodness, 
here's a phone. Hello? Give me 136 Mellow-Rose. Doc- 
tor Comfort? Oh, Doctor, I've got such a pain. Where? 
Right here in Dreamland Path. Hurry! Hurry! I'm 
sure I'm going to die. 

Fate. What did the Doctor say? 

Child. What do doctors always say ? [In imitation.] 
You 've been eating too many sweets ! 

Folly. Oh, pshaw! Look who 's coming ? [Runs and 
hides at had-.] 

Fate. Thank goodness I 

Courage. [Enter?.] Where is the sick Child ? Poor, 
little Gypsy. The Doctor sent me to you by wireless. My 
name is Courage. Come, open your mouth. [Fills a 
large spoon from a bottle.] 

Child. [Making a wry face.] Oh-h-h ! Call Greedy 
back and give it to him. [Calling.] Greedy! 
Greedy, here's something for you! [Greedy enters, eat- 
ing from the howl. The Child turns to Courage.] 

Courage. Never mind him. Open wide. Courage is 
with you. [Child ta],-es the dose.] 

Child. I can 't say I liked it ! 

Courage. Of course not. It was castor oil. [Sets 
the bottle and spoon out of sight.] 

Folly. The horrid stuff. Don't ever take it again. 

Child. Greedy and Folly, go away, both of you. 

Folly. Me ? Would you send me away, Gypsy ? 

Fate. I beg you to. 

Child. Hush, Fate. Not you, Folly, but Greedy. 
Since Courage came, I don 't care for Greedy any more. 

Greedy. I'll tell my big brother on you. He'll come 
and see you some day and carry you off! He's a big 
giant ! 

Child. I'll tell my mother on him ! 

Greedy. Humph ! Most all the grown-ups like him. 



8 ON THE PATH OF THE CHILD 

Fate. What's his name? 

Greedy. Selfishness. 

Fate. [Fearfully.] Oh-h! 

Courage. I 'm here ! 

Child. Run away, you bad boy, Courage is here. 
[Greedy retires to a corner, where he sits eating slotvly 
and with great enjoyment.'] 

Courage. Yon and I are going to be good friends, 
Gypsy. 

Folly. [To Courage.] I'll see about that! [Laughs.] 
^ypsy, I want to tell you a secret. 

Child. Come, Courage, listen too. 

Courage. I 'm not a friend of Folly 's, although I've 
met her many times. 

Child. Oh, Courage, she's so attractive! 

Courage. Wait until you know her better, Gypsy. 

Folly. Ah, here are two dear friends of mine. Wel- 
come ! What detained you ? 

[Enter Vanity and Laziness.] 

Vanity. I wouldn't go anywhere without a new dress. 

Laziness. She made me walk and I had to rest many 
times. 

Child. Stay here, Courage. I must meet them. 

Fate. Bid him stay beside you and you'll refuse to 
meet them. 

[Child runs to Folly, who tahes her hand and pre- 
sents her to Vanity and Laziness.] 

Fate. [To Courage.] Courage, what can you do? 

Courage. Stand by, for no one travels far on the 
path without calling to me. 

Vanity. [Looking in her mirror as she walks ahout 
proudly.] If you could only see what I do, you would 
think the world a lovely place ! 

Folly. [To Child.] Did you ever see such style? 
Isn't she graceful? 

Fate. Is that false posing grace? And the style! 
Folly, that is your creation! 

Vanity. Come and look in my wonderful mirror, 
Child? 



ON TEE PATH OF THE CHILD 9 

Child. Will I see the whole world in it ? 

Vanity. Yes, for you will see Power. • . 

Fate. Power ! A misleading and exaggerated reflec- 
tion of herself. Don 't look, think of me ! 

Child. Fate, don 't bother me ! Hold j^our mirror 
for me, dear Vanity. [Looking in.] Oh, how pretty 
I am! 

Vanity. Isn't your hair lovely? 

Child. It curls so naturally. 

Fate. [With scorn.'] Curls naturally! She believes 
everything Vanity says ! 

Vanity. [Holding the mirror loiver.] See how sup- 
ple your waist is. You are the dancer. 

Child. Wonderful! And my little hands. Hold the 
mirror to the floor ! 

Vanity. [Placing mirror 'before feet of Child.] What 
dainty feet ! 

Child. Dainty? I should saj^ so. The prettiest and 
smallest I ever saw ; they 're beautiful ! 

Fate. Courage, support me. Vanity is making the 
Child blind ! 

Courage. [Placing his arm ahout Fate.] I never 
desert anyone who calls upon me. 

Laziness. [Who has been lolling on the 7nouncl.] 
Come and sit beside me, Gypsy, and take things easy. 

Folly. Dear little Laziness! [To Child.] There's 
a sweet invitation. 

Child. Laziness! He isn't so little! 

Vanity. The dear boy grows tall from lying about 
so much. 

Child. Have you any objection to sitting with Lazi- 
ness, Vanity ? 

Vanity. No, indeed, LxVZiness and I go hand in hand 
many and many a time, don't we, dear? 

-Laziness. [Yaivning.] Yes. Don't anyone disturb 
me. 

[Child, Vanity and Laziness sit together.] 

Folly. You are in good hands now, Gypsj^. 

Fate. Oh, Courage, if we could only capture her 



10 ON TEE PATH OF THE CHILD 

from Folly. She has always acted so well before to- 
night. If this keeps up, it is bound to have an effect 
upon me ! 

Child. [Gazing into the mirror and smiling at her- 
self.'] Don't pull my hair, Vanity. 

Vanity. It's caught on my chain. 

Child. Oh-h ! Undo it for me, Laziness ? 

Laziness. Don't bother me. Can't you see how tired 
I am? 

Child. Vanity, help me ! I 'm in trouble. 

Vanity. "What ! Put my mirror down ? 

Child. But you are pulling my hair and hurting me. 
Courage ? Courage ? 

Courage. [Running to her.] Here I am, Gypsy. 

Child, My hair ! Vanity is pulling my hair. I can't 
reach it. 

Courage. Have you forgotten a little friend who 
never fails you? You often call upon her when your 
hair is being brushed. 

Child. I treat her so badly. I'm almost ashamed to 
call upon her now. 

Courage. But she never bears ill-will. 

Child. [Calliiig.] Patience! Patience! Oh, where 
is my Patience ! 

Patience. [Fitters, kneels and he gins to loosen the 
hair from its tangle.] I know this is my task. How do 
you do, Courage? Have you any new heroes on your 
list? 

Child. Me! I took such a large spoonful of castor 
oil. 

Fate. "What that Child says with Vanity beside her ! 

Vanity. Someone calling to look into my mirror? 
Most everyone in the world has looked into it at one 
time or another ! Even Laziness. "When they look i^to 
my mirror a hundred times, I give them one to keep ! 

Folly. Keep looking in. Child ! 

Fate. Oh, Wisdom, guard us ! 

Laziness. You shoved me. Just when I was so com- 
fortable ! 



With me? 



ON TEE FATE OF TEE CEILD H 

[Child rises.] 

Folly. Stay with my friends ! 

Child. My Fate does not wish mie to. Besides I'm 
not young enough to sleep all day long. I'm here for 
adventures with — 

COUEAGE. 

Patience. 

Folly. 

Vanity. 

Laziness. Me ? 

Child. Folly ! [Folly tosses her head in triumph 
and places a- dark milestone on the path.] If I stayed 
with yon, Laziness, somebody might call me Lazibones. 
I can't see that Lazy people have any fun. 

Laziness. Oh hush ! Let me sleep ! 

Folly. Dance with me, Gypsy ! 

Child. [Dances a few steps, sees the milestone^ 
shrinks hack, frightened.] I'm afraid. What's that? 
[Folly latighs.] 

Fate. Your Folly put it there ! 

Child. Stop laughing at me, Folly! I don't like 
you any more. See what you've done to my x>i'etty path. 
I don't trust you. Go away. Folly. 

Folly. You cannot be rid of me so easily when once 
I 've been your comrade. It was I who whispered to Cin- 
derella to wait till after the clock struck twelve. She 
obeyed me and found her beautiful coach, footmen and 
horses nothing but a pumpkin, rats and mice. [Laughs.] 
It was I who told Little-Red-Riding-IIood to disobey her 
mother and linger in the w^oods and pick flowers, so the 
wolf had time to go to her Grandmother's — It was I — 

Child. It is you who make trouble for us all. Go 
away. I cannot bear you near me any longer ! 

Folly. Since you insist, I must go, but you will meet 
me all through life and like me every time you do! 

Child. Patience ! Patience ! 

Folly. I certainly do not care for Patience. 

[Folly exits left. Patience goes io Child.] 



12 ON TEE PATE OF TEE CEILD 

Child. Patience, I can't go any further. There is 
a great, black thing in my way. I 'm afraid to look. [The 
milestone is small, hut to the Child ^s imagination it 
seems as large as it is strange.'] 

Patience. We can dig all around and under it. It 
will take time, but if we dig deep, it will fall down. 

Child. Oh, I'm afraid. Greedy ^s big brother may 
be waiting on the other side and — and that awful mon- 
ster whose name is Ingratitude ! What if they heard me. 
Oh, Patience, what shall I do ? 

Patience. Is there no friend you can call upon who 
is strong and kind ? 

Child. Yes. My Courage. [Calli^ig.] Courage? 
[Courage riins to her.] Save me, Courage. There's a 
dark milestone on my path ! 

[Courage doubles up his fists and punches a hole in 
the milestone. It falls down. He throws it aside.] 

Courage. Scq Gypsy, it was only a shadow. 

Child. How wonderful! That heavy, black stone 
melted away at your coming, Courage ! 

Fate. [Funning to the Child.] It warms my heart 
to see you with Patience and Courage. 

Patience. But why is it everybody grows tired of 
me? 

Courage. Not the heroes ! 

Child. Does Patience know any heroes ? I thought 
only you knew heroes, Courage ! 

Courage. Patience knows the greatest. We two have 
sat year in and year out with men who were searching 
for some fluid or germ that would do away with pain and 
disease. My name is often associated with the soldier, 
the sailor, the fireman, the policeman — they are very 
brave, but no braver than Patience ^s heroes who are so 
often little known and little praised. 

Child. I want to know them. I want to cheer them. 
Those quiet heroes of Patience ^s. I often cheered your 
heroes, Courage. 

Courage. I have quiet heroes, too! All those who 
refuse to do any harm while walking along their paths 



ON THE PATH OF THE CHILD 13 

and who try to right the harm that others do. No one 
cheers them, either. 

Child. Courage, you make a very good teacher. 

Vanity. Courage is always a leader, aren't you 
brave, lad? 

Courage. [Throiving out his chest.] Yes, Courage 
is a great leader. [Shakes his head at her.\ Ah, Van- 
ity! Don't try to dazzle my eyes with your mirror. 
Rouse that boy, Laziness. Attention, Laziness! 

Laziness. ■ What 's the matter now ? All I 've been 
doing and people always wanting me to do something 
else ! , 

Courage. The class will please be seated. 

Child. This ought to be great fun. [Folly skips in.] 

Folly. School ! I 'm head of the class. Patience, 
you're at the foot. In other words, I'm the tortoise and 
you 're the hare ! 

Child. Oh no, reverse it. 

Folly. She 's asking me to stand on my head. 

Courage. I wonder what you do know, Folly? 

Folly. If six and one make seven, wouldn't you 
think that seven and one would make eight? 

Patience. It does. 

Folly. Not at all. It makes ten. 

Child. That 's funny ! 

Folly. Of course it does. I suppose I haven't ten 
fingers ? 

Courage. Your arithmetic is minus. 

Laziness. What does this mean? 

Courage. It means it has been amputated. 

Patience. Just what is itf 

Child. [Spelling.'] I-t of course. 

Vanity. I don't care about tea, but an eye is a beau- 
tiful thing. [VxVNiTY stares into her mirror.] 

Folly. [With great earnestness.] Eight and two are 
six, eight and two are six. 

Child. This is silly. You've been reading "Alice in 
Wonderland," haven't you? We have learned nothing, 
Courage ! 



14 ON THE PATE OF THE CHILD 

Courage. Attention. We have learned that Folly 
cannot reason. 

Folly. Who wants to reason when I'm about? NO- 
BODY. Why, I've made old grey-haired people forget 
that two and two make fonr. 

Patience, Indeed yes, you've made them forget way 
up into the thousands ! 

Folly. Don 't be so literary ! 

Courage. Can you count, Greedy? 

Greedy. Not in my head, but give me things to count 
with and I can count. But you must give them to me 
to keep. 

Fate. Life teaches everybody arithmetic. 

Child. Then why do we have to go to school ? 

Patience. There are other things to learn besides 
arithmetic. 

Child. Spelling and cooking and sewing and read- 
ing and dancing and singing and how to play and how 
to write and — 

Courage. You must learn self control. 

Patience. And that I am the best teacher" in the 
world ! 

Vanity. I never told her to say that. She really be- 
lieves it ! 

Child. Attention ! Rise and shake your wits to- 
gether. 

[They all rise and shake one another, Folly dancing 
about them, well pleased.^ 

Child. Folly was here all the time. Perhaps that's 
why we answered in such a foolish way. 

Vanity. Foolish? I 'm never foolish. And I'm sure 
Courage isn't. 

Courage. Even Courage falters with the eye of 
Vanity upon him. 

Folly. Any more questions you want answered? 

Child. The teacher should ask the questions. 

Fate. The teacher should teach. 

Courage. Be seated. [All seat themselves.'] Lazi- 



ON TEE PATH OF THE CHILD 15 

NESS, what do you think is the best course to pursue in 
life ? 

Lx^lZiness. Keep busy. 

Child. Does Laziness believe that? 

Courage. He means for us to keep busy. Is that it, 
Laziness ? 

Laziness. [Yawning.] Work. Work hard. It's the 
best thing for everybody. It makes a man healthy, 
wealthy and wise. 

[Child and Folly laugh.'] 

Courage. Vanity, what do you consider the best 
course to pursue in life? 

Vanity. Be simple and sincere. [She poses in a 
fantastic manner. Getting up one after the other as 
though reciting a quotation at assemhly.] 

Courage. Oh, wad some power — 

Vanity. To see myself as I really am! 

Child. While all the world wondered! 

Laziness, Work! Work! Work! Let that be your 
motto ! [Sits before he finishes speaking.] 

Greedy. And God loveth the cheerful giver. Remem- 
ber that. [Folly laughs.] 

Fate. I knew it's Folly's fault. 

Child, Everyone blames Folly ! 

Courage. Perhaps you, Gypsy, for having her as a 
friend. 

Patience. Keep me beside you and you will learn — 

Child. I 'd run aw^ay with you, Folly, only Courage 
and Patience have shown me you are not a true friend. 
I've been so lonesome! You're all Yery nice, I suppose, 
but I feel cold without her here. Oh, why doesn't she 
come? 

Courage. I know who she means ! 

Patience. So do I ! 

Voice off. Cpiild ! 

Courage. The voice of Love! 

Child. Love ! 



16 ON THE PATH OF THE CHILD 

Child. 1 

Y.^^^' Iconie to us ! 

Courage. 

Patience.] 

Child. [Stretches out her arms. Enter Love. The 
Child runs to her embrace.^ You have been away from 
me so long ! 

Love. I wanted to see if you could get along without 
me. 

Child. I couldn't. It was a little ache at first and I 
laughed and danced with Folly to get rid of it, but I 
grew heart-sicker and heart-sicker. 

Patience. More heart-sick and most heart-sick. 

[Folly whispers to Greedy, Vanity and Laziness.] 

Child. Never leave me again, Love! 

Love. Child, I say to you, never send me away, for 
with me close beside you, you can never do harm.. 

[Chimes off.] 

Fate. Dreaming time is almost over. Choose your 
comrades, now! 

[Folly, Greedy, Vanity, Laziness form a circle and 
dance about the Child, where she stands with Love. 
Fate, Courage and Patience stand together.'] 

Child. Love, help me choose! 

Folly. Leave her for a moment and come just a 
step along the path with me. 

Child. I am too lonesome without Love. 

Love. [Fondly.] I resemble her Mother. 

Folly. [Coaxing.] Won't you come with Folly? 

Child. I like you, Folly. 

Love. But I am deep in her heart. 

Child. Help me, Love. I seem to know that my path 
will have stones on it and maybe thorns! 

Love. I will smooth even them away. 

Laziness. Take me with you, Gypsy; we can swing 
in a hammock made of vines and listen to the birds 
sing and sleep in the sun. 

Child. How pretty to listen to the birds ! 



ON TEE PATH OF TEE CEILD 17 

Patience. With Laziness, what will be accom- 
plished ? 

Child. I shan't take you, Laziness. 

Laziness. There are many others who will. I don't 
care. [Laziness exits.] 

Greedy. Take me with you, Child ? 

Child. He's so little. I might take him along? 

Love. And when he is full grown? He is the son of 
Greed! If there was no Greed, everyone could meet 
Justice. 

Child. I do not want you, either. Greedy. Run 
away. 

Greedy. I was going to give you a bite of my candy 
and now I won't! [Greedy exits, licking his candy.'] 

Vanity. Ah! little girl, you surely will take me 
along ? 

Child. She's so attractive, Love. 

Vanity. Just take one peep into my mirror? 

Child. Her mirror makes me feel so happy. 

Love. Vanity has often led people to Extravagance 
and then pushed them in. 

Child. What is that — Extravagance? 

Love. A great, deep, glittering hole, very hard to 
get out of. 

Child. Oh ! I 'm sorry, Vanity, but you cannot walk 
with me. 

Vanity. No, Gypsy? Then your little Vanity will 
have to go away. {Walks sadly apart, turns about and 
stands close behind Child.] 

Folly. And what about me? 

CnrnD. I 'm so fond of Folly ! 

Love. The mischief-maker! 

[Folly holds out her arms to the Child.] 

Child. Oh, come quickly to me. Courage! 

Courage. Take my arm. 

Child. See, Folly, there is no room for you with 
Love and Courage beside me. 

Courage. And Patience will lead the way ! 



18 ON THE PATH OF THE CHILD 

Child. Oh,^ no, Patience is too slow. 

Patience. But I'm so necessary, Gypsj^ 

Child. [Dropping the arms of Love and Courage.] 
If Patience should lead the way, I'm afraid I'd never 
have an adventure at all. She 's too careful ! 

[Folly and Vanity rush to the Child and take her 
arm.l 

Folly. I was right behind you, dear. 

Vanity. And I with my little mirror. Look in ! 

[Love weeps.] 

Child. [Ahout to look in the mirror.] No, no ! Love ! 
Love ! 

Folly. Never mind her. Dance with me and forget. 

Child. Love, can't you come with Folly and me?" 

Love. [Weeping.] Although I weep, I am always 
near you. Child. 

Child. She is crying! 

Folly, Send Courage to her then. 

Courage. I cannot dry Love's tears, she is greater 
than I. 

Love. Only you can dry my tears, Child ! 

Child. [Runs to Love a7id puts her arms ahout her.] 
Where 's my handkerchief ? 

Love. [Kissing both cheeks of the Child.] Like 
this, and this ! Perhaps I am the best teacher after all. 

Child. I think so. Love. You have shown me I 
must keep you and Patience right beside me, or others 
will come and take your places. Courage, do you 
lead on! 

Courage. We are ready for any adventure. 

Fate. I am growing strong for the forward march ! 
[Fate walks with erect head and exits right.] 

Courage. 1 

Love. j-We are happy. We are very happy. 

Patience. J 

Child. Very happy! 

[Lights grow dim. The Sandman enters from right. 
As he hegins to speak and sloivly walk toward the Child, 



ON THE PATH OF THE CHILD 19 

she and her companions hack slowly from him and exit 
left. 

Vanity and Folly exit first, then Love, Patience 
and the Child between them, then Courage. 

Sandman speaking as in heginning, giving the im- 
pression that all that has happened between vms but a 
moment's dream of a sleeping child.] 
Sandman. I am the Sandman ! 

Oh, sleeping Child, dream of the future which 

before you lies. 
Prepare for the battle, your path in life. 
As I sprinkle the sands from Wisdom's shores. 
Learn what your heart and soul must be 
To meet with the shadows out here on the road. 
Learn while you sleep, - 
"While you sleep. 
[As he says Hush, hush! he takes a handfid of sand 
from his bag and softly exits left.] 



CURTAIN. 



HER GLOVES 

A FARCE IN THREE ACTS 

By 

ANTHONY E. WILLS 

Author of '' Blundering Billy," "Burley's Banch/' etc. 
PRICE, 25 CENTS 



CAST OF CHARACTERS 

Walter Dillingham A dealer in real estate, Comedy lead 

Jefferson Euggles His father-in-law, Character 

Robert Slocum A friend of the family, Juvenile 

Charley Brooks A neighbor, Comedy 

Jim Ryan. . . .- A theatrical manager, Comedy 

Mrs. Ruggles Wife of Jefferson, Old woman 

Blanche Dillingham Wife of Walter, Lead 

Dora Ruggles In love with Slocum, Ingenue 

Elizabeth Brooks Wife of Charley, Comedy 

Valeska Bijou A leading lady, Comedy 

The action of the farce takes place in the home of the Dilling- 
hams, New Rochelle, New York, during the month of May. 

ACT I 
A PAIR OF GLOVES 

(Afternoon) 

ACT II 
THEY ARE LOST 

(A few minutes later) 

ACT III 
THEY ARE FOUND AGAIN 

(Next morning) 

One interior scene for the three acts. Modern costumes. Plays 
an entire evening. Lively, full of complications, uproariously 
funny. Most admirable for repertoire and stock companies and 
amateurs. A sure success. 

Address orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Diamonds and Hearts 

A Comedy Drama in Three Acts 

B> EFFIE W. MERRIMAN ' 

Price, 25 cents 

This play has become one of the most popular in Arrerica. The 
good plot, the strong "heart" interest, and the abundant comedy 
all combine to make a most excellent drama. "Bub" Barnes is a 
fine character of the Josh "Whitcomb type, and his sister is a worthy 
companion "bit." Sammy is an excruciatingly funny little darkey. 
The other characters are good. Fine opportunity for introducing 
specialties. The play has so many good points that it never fails 
to be a success. 

CAST OF CHARACTERS 

BERNICE HALSTEAD, a young lady of eighteen, with an affec- 
tion of the heart, a love for fun and hatred of arithmetic 

AMY HALSTEAD, her sister, two years younger, fond of frolic, 

INEZ GRAY, a young lady visitor, willing to share in the fun.... 

MRS. HALSTEAD, a widow, and stepmother of the Halstead girls 

HANNAH MARY BARNES, or "Sis," a maiden lady who keeps 
house for her brother 

DWIGHT BRADLEY, a fortune hunter and Mrs. Halstead's son 
by a former marriage 

DR. BURTON, a young physician 

SAMMY, the darkey bell-boy in the Halstead house 

ABRAHAM BARNES, or "Bub," a yankee farmer, still unmar- 
ried at fort3-~a diamond in the rough 

ATTORNEY; SHERIFF 

Time of playing, two hours. 
Two interior scenes. Modern costumes. 

SYNOPSIS OF INCIDENTS 

Act. 1. Parlor of the Halstead home. The young doctor. The 
three girls plot to make his acquaintance. An affection of the heart. 
' Easy to fool a young doctor," but not so easy after all. The step- 
mother and her son. The stolen diamonds. The missing will. 
Plot to win Bernice. "I would not marry Dwight Bradley for all 
the wealth the world contains." Driven from home. 

Act 2. Kitchen of the Barnes' farm house. Bub takes off his 
boots. The new school ma'am. "Supper's ready," "This is our 
nephew and he's a doctor." Recognition. A difhcult problem in 
arithmetic. The doctor to the rescue. "I'm just the happiest girl 
In the world." "I've come to pop the question, an' why don't I 
do it?" Brother and sister. "If it's a heifer, it's teh be mine." 
The sheriff. Arrested for stealing the diamonds. "Let me knock 
yer durned head off." The jewels found in Bernice's trunk. 

Act 3. Parlor of the Halstead home. "That was a lucky stroke 
—hiding those diamonds in her trunk." The schemer's plot miscar- 
ries. Abe and Sammy join hands. The lawyer. "Bully for her.'* 
Bradley tries to escape. "No, ye don't!" Arrested. "It means, 
dear, that you are to be persecuted no more." Wedding presents, 
and a war dance around them. "It is no trick at all to fool ff 
VQung doctor." 

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THE DRAMATIC PUBLISHING COMPAN'Y 

cmcA.io fiujNois* 



The Spinsters^ Convention 

(The Original 
Old MaidsV Convention) 



Price, 25 cents 



An evening *s entertainment which is always a sure hit and 
a money-maker. Has been given raany hundred times by 
schools, societies and churches, with the greatest success. An 
evening of refined fun. It requires from twelve to twenty 
ladies and two gentlemen, although ladies may take the two 
male parts. A raised platform with curtains at the back is 
all thv, stage requires, but a fully equipped opera stage may 
be utilized and to great advantage. 

Eidiculous old maid costumes, with all their frills and fur- 
belows, their cork-screw curls, mittens, work bags, bird cages, 
etc., are the proper costumes. Later on in the program some 
pretty young women in modern evening dress are required. 
The latter should each be able to give a number of a mis- 
cellaneous program, that is, be able to sing, play some instru- 
ment, dance, whistle or recite well. 

This entertainment utilizes all sorts of talent, and gives 
each participant a good part. Large societies can give every 
member something to do. 

SYNOPSIS 

Gathering of the Members of the Society — The Roll-Call — The 
Greeting- Song — Minutes of the last meeting — Report of The Treas- 
urer — Music: "Sack Waltz" — A paper on Woman's Rights — Song: 
"No One to Love, None to Caress." — Reading of "Marriage Statis- 
tics" — The Advent of the Mouse — Initiation of two Candidates into 
the Society — Tiie Psalm of Marriage — Secretary's Report on Eligible 
Men — A Petition to Congress — Original Poem by Betsy Bobbett — 
Song: "Why Don't the Men Propose?" — Report of The Vigilance 
Committee — An Appeal to the Bachelors — Prof. Make-over — The 
Remodelscope.-Testimonials — The Transformation and a miscel- 
laneous program. 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Won Back 

A Play in Fottr Acts 

By 
CLIFTON W. TAYLEUR 

Pricct 25 cents 

Six male, four female characters. A play written In the sam© 
vein as "Held by the Enemy," "Shenandoah," "Across the Poto- 
mac," and other great New Tork successes. Mr. Tayleur has writ- 
ten many successful plays, but this striking- picture of the stirring 
times of the Great Rebellion surpasses them all. Costumes, civil 
and military of the period. Scenes, two interiors, and one land- 
scape with Confederate camp, easily managed. Time of playing, 
two hours and thirty minutes. 

SYNOPSIS OF EVENTS 
ACT I — Drawing-room, Arlington, Washington — J 860 

"Whom first we love, you know, we seldom wed; 
Time rules us all: and life indeed is not 
The thing we planned it out, ere hope was dead. 
And then, we women cannot choose our lot." 
Ifi fetters — The rivals — North and South — The coy widow — A 
noted duelist — An old affection — The dismissal — The rivals meet— 
'"You shall answer for this" — Farewell. 

ACT II— Same Scene— J 860 

''Who might have been — Ah, what, I dare not think? 
We are all changed. God judges for the best. 
God help us do our duty, and not shrink, 
And trust in Heaven humbly for the rest." 
Broken ties — A Vassar girl's idea of matrimony — A TVashington 
savfTe — Schooling a lover — Affairs of honor — The Northern P^^"'- 
eate. — The missing challenge — Betrothed. 

ACT III — Drawing-room in New York Hotel— J 861 

"With bayonets slanted in the glittering light 
With solemn roll of drums. 
With starlit banners rustling wings of night, 
The knightly concourse comes." 
To arms? To arm.s! — Stand by the flag — A woman's duty — A 
skirmish in the parlor — On to Richmond — Reunited — The passing 
regiment. 

ACT IV— Confederate Camp at Winchester 1864 

"No more shall the war cry sever, or the winding river be red; 
They banish our anger forever, when they laurel the graves of our 
dead." 
A cowards' armor— A hand to hand struggle — ^Hugh captured— 
Sentenced to be shot — A ministering angel — Harold King's re- 
venge—The attack on the camp— Death of King— After the battle-- 
Won back. 

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THE DRAMATIC PUBLISHING COMPANY 

CHIGACa ILLINOIS 



Joe Ruggles 

OR 

THE GIRL MINER 

A Comedy Drama m Font A&ts 

By FRANK J. DEAN 

Price, 25 cents 

Nine male, three female character^. A vigorous, stirring play, 
depicting peculiar types of life in a large city and in the mining 
districts of the West. The parts of Joe Ruggles, the miner, Han? 
Von Bush (Dutch dialect), and Richard Hamilton, the scheming 
villain, all afford opportunity for clever work; while the part of 
Madge (soubrette), who afterwards assumes the character of Mark 
Jjynch, is an excellent one for a bright young actress. 

Scenery — City street, showing R. R. Station; rocky pass, with 
eet cabins; a wood scene, and two plain interiors. Costumes of the' 
day. Time of playing, two and a half hours. 

SYNOPSIS OF EVENTS 

ACT 1— Entrance to Railroad Station 

Looking for a victim — Joe Ruggles — "Them galoots is worse than 
grizzlies" — "Morning papers" — Madge and Bess plying their trades— 
"Can't you sing Joe a song?" — Hamilton and his pal confer — Tom 
Howarth gains inportant information — "Don't you dare to la> 
hands on us!" — Hamilton tries to mahitain his authority — "Whoi 
Old Joe!" 

ACT II — Doomsday's Hotel, Dai-c-devII'? Gulch, California 

The landlord secures a guest — Hans disappointed — "Dot is a mis- 
dake" — A ghost story — The "Kid and his sifter" — "Did I hurt youi 
highness?" — Hans and Doomsday have another talk — Kate Laurel 
meets the young miner — "Yah, dot vas vot J t'inks" — Madge's dis- 
guise penetrated — She recognizes an old enemy — "Now, George 
Smith, take your choice" — Joe Ruggles as a tramp — "Ef yer think 
yer can pick on me because I'm han'some ye'll find me ter hum" — 
Hamilton appears — "Those two youngsters are mine" — The tramp 
takes a hand. 

ACT III — "Wood Scene 
A lively ghost — ^Hamilton and Smith plan more villain^' — Old Joe 
thinks of turning Detective — Kate Laurel again — "There is a secret 
connected with my life" — Kate's confession — "What do 3^ou mean, 
sir?" — Tom Howarth once more — "Vos you looking for a hotel?" — 
."Planning an abduction — Old Joe as an Irishman — "Phat does yez 
want wid me?" — Undertakes to be a detective — Takes a hand in 
tbo abduction — "Do it at your peril." 

ACT rv 

Hans hears, and tells, the latest news — "I nefer pelieved dot 
epook peesness" — Kate Laurel astonished — Hamilton attempts 
flight — "De poys haf got Mr. Hamilton, und dey vill gif him a 
necktie barty" — Arrest of Smith — "Get out mit my vay, I vas de 
United States Mail" — Tom meets his old friend under new circum- 
stances — "Do you want me, Tom?"— Old Joe gives consent— A 
bappy ending. 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Practical Instructions iar 
Private Theatricals 

Bv W. D, SMERSON 
iathor of **A Country Romance,'* "The Unknown Hivblf 

** Humble Fie,'' etc. 



Price, 25 cents 



Here is a practical liand-book, describing in detail all the 
•iccessories, properties, scenes and apparatus necessary for an 
Huiateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such usefi'l 
book has ever been offered to the amateur players of au^ 
*iOuntry. 

CONTENTS 

Chapter I. Introductory Remarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
JJrapery, tormentors, wings, borders, drops. 

Chapter lY. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Eeflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind, Eain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water. Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hootgi 
Shots. 

Chapter VII Scene TaiDting. 

Chapter VIIL A Word to the Property JMaa. 

Chapter IX. To the Stage Manager. 

Cha'^'^-er X. The liusiucss Manager. 

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THB DHJKMA'llC PUBLISHING c:uiVt>'AJ^'$ 

CHICAGO. Q-i-lNOI> 



PLAYS 



LIBRARY OF CONGRESS 

■H 

017 401 875 3 • 



And Entertainment Books. 

^SJEING the largest theatrical booksellers in 
>^ the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
Ushed. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue oefore ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other * 'make-up" 
materials. 

The Dramatic Publishing Company 
CHICAGO 



